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Home , Alan Hacker, Alexander Goehr, Betty Freeman, Choral (Stockhausen), Earth Dances, Elgar Howarth

HarrisonBIRTWISTLE at the Festival, directed by Martin Duncan (2000) Photo: Mike Hoban

The Io Passion at the , directed by (2004) Photo: Ivan Kyncl TABLE OF CONTENTS Harrison Cover photo:HanyaChlala/ArenaPAL Boosey & Hawkes addresses ListChronological of Works Discography Works Abbreviations Introduction Biography Vocal Chamber withVoice(s) Chamber withoutVoice(s) withVoice(s) Ensemble withoutVoice(s) Voice andOrchestra InstrumentandOrchestra Chamber Orchestra Full Orchestra German French English

4 50 18 41 17 11 30 36 38 39 35 29 23 26 25 21 24 18 13 15 11 2 4 1934 Born 15 July in Accrington, . Only child of farmers. Grows up on small holding on edge of the town.

1941 His mother buys him a and he has lessons with leader of the Accrington military band, which he eventually joins.

1945 Begins composing. Few early works survive, with exception of Oockooing Bird for piano (c.1950).

BIOGRAPHY 1952 Wins scholarship as clarinettist to Royal College of Music (now the Royal Northern College of Music), where he studies with Frederick Thurston (clarinet) and (composition). Fellow students include the and , the trumpeter and the pianist .

1953 With fellow Manchester students founds the New Music Manchester group as a vehicle for exploring important twentieth-century works as well as for playing their own music.

1954 Hears Messiaen's Turangalîla-symphonie in , conducted by – 'an absolute magical moment'.

1955 Undertakes national service (1955-57) as a clarinettist with band of the Royal Artillery.

1956 Only London concert by New Music Manchester group (9 January), organised by at the Institute of Contemporary Arts, including works by Goehr, Maxwell Davies, Lutyens and Hall, but not Birtwistle, who appears only as clarinettist.

1957 Attends a London concert (6 May) where he first hears Boulez's Le marteau sans maître alongside Webern's Concerto op.24 and Stockhausen's Zeitmaße – a formative experience. Undertakes postgraduate clarinet studies (1957-58) with at , London, followed by a short period playing with Royal

BIOGRAPHY 2 Liverpool Philharmonic Orchestra. Completes his 'Opus 1', Refrains and Choruses, on New Year's Eve.

1958 Signed up to be published by , with whom he remains until 1994. Marries Sheila Duff. Undertakes variety of non-musical jobs.

1959 Refrains and Choruses selected by Society for the Promotion of New Music and premiered at the Cheltenham Festival by the Portia Wind Ensemble. Birth of first son, Adam. BIOGRAPHY

1960 Three Sonatas for Nine Instruments chosen by SPNM for performance at Aldeburgh Festival, but withdrawn after first rehearsal. Score unpublished, but now housed at Stiftung, Basel, Switzerland. John Ogdon premieres Précis for solo piano at Dartington Summer School. During this period teaches at three Dorset preparatory schools: Claysmore School and Knighton House (Blandford), and Port Regis (Shaftesbury).

1961 Monody for Corpus Christi selected to represent Britain at ISCM Festival.

1962 Appointed Director of Music at Cranborne Chase Girls School, Wardour Castle, Dorset (1962-65).

1963 Pupils of Knighton House and Port Regis Schools give premiere of Music for Sleep, commissioned by Musical Times and Music in Education. His second son, Silas, is born.

1964 Co-founds (with Goehr and Maxwell Davies) the Wardour Castle Summer School, with as President. Entr’actes and Sappho Fragments premiered at Cheltenham Festival.

1965 Tragoedia premiered at second (and last) Wardour Castle Summer School to great critical acclaim. His third son, Toby, is born.

1966 Wins a for two years' study in the USA. Becomes Visiting Fellow at , where he completes the composition of .

BIOGRAPHY 3 1967 Completes his American studies at University of Colorado at Boulder. Co-founds Pierrot Players with Maxwell Davies and Stephen Pruslin. Their first concert at Queen Elizabeth Hall, London, includes premiere of Monodrama (later withdrawn) to a by Pruslin and dedicated to Maxwell Davies.

1968 Punch and Judy, to a libretto by Pruslin, premiered at the Aldeburgh Festival in the presence of . Nomos commissioned by the BBC Proms and premiered BIOGRAPHY by and the BBC Orchestra. Approached by newly established London Weekend Television to write a TV opera on the subject of , but project falls through.

1969 Down by the Greenwood Side, to a text by , premiered at the Brighton Festival. Peter Zinovieff collaborates for first time on tape parts for Linoi, Four Interludes for a Tragedy and Medusa. Approached by Covent Garden to commission an opera that eventually becomes , to a text by Zinovieff. Commission later passes to Glyndebourne (1973), then (1975).

1970 Premiere in London of Nenia: The Death of Orpheus, to a text by Zinovieff. The Pierrot Players disband (and become the ).

1971 An Imaginary Landscape, a BBC commission, is premiered by and BBC Symphony Orchestra at ISCM Festival in London.

1972 The Triumph of Time premiered in London by Lawrence Foster and Royal Philharmonic Orchestra. Writes his only film score to Sydney Lumet’s The Offence, with electronic realization by Zinovieff.

1973 Appointed Cornell Visiting Professor of Music at Swarthmore College, Pennsylvania. Begins composition of The Mask of Orpheus, Acts 1 & 2 (1973-75). Chronometer, his only

BIOGRAPHY 4 piece exclusively for tape, prepared with Zinovieff, is premiered in London.

1974 At invitation of appointed Visiting Slee Professor at State University of New at Buffalo (1974-75).

1975 On return from America moves to island of Raasay in Inner Hebrides. Appointed Music Director, National Theatre, London. Scores include Hamlet (1975), Tamburlaine (1976) BIOGRAPHY and Volpone (1977). Also works on other productions in collaboration with , including Julius Caesar (1977), The Cherry Orchard (1978) and As You Like It (1979).

1977 Bow Down, to a text by Yorkshire poet , is premiered at National Theatre.

1981 Writes highly acclaimed music for 's production of Aeschylus's Oresteia trilogy at National Theatre in a new translation by Tony Harrison. Featured composer at Huddersfield Contemporary Music Festival. Resumes composition of The Mask of Orpheus, Acts 2 & 3 (1981-84).

1982 Becomes Associate Director, National Theatre, and moves to Lunegarde in the Lot region of France. Begins work at IRCAM, Paris, with composer Barry Anderson on the components for The Mask of Orpheus.

1984 premieres Secret Theatre at his fiftieth birthday concert at the Queen Elizabeth Hall. Invited to Japan for a major retrospective of his music in Tokyo. First full-length study of his music published by Michael Hall (Harrison Birtwistle, Robson Books, London).

1985 Directs Summerscope Festival at London's South Bank Centre under the title 'Harrison Birtwistle: His Fancies, His Toys, His Dreams'.

BIOGRAPHY 5 1986 Premiere of The Mask of Orpheus by English National Opera at London Coliseum, conducted by Elgar Howarth and , directed by David Freeman. Wins prestigious from the University of Louisville. premiered by / London Sinfonietta at Queen Elizabeth Hall. , another BBC commission, is premiered by the BBC Symphony Orchestra, conducted by Peter Eötvös - 'a desolate, disturbing rite of spring for this decade'

BIOGRAPHY (). Made Chevalier des arts et des lettres by French government and Honorary Fellow of Royal Academy of Music.

1987 The Mask of Orpheus wins the Evening Standard Award for Opera. Endless Parade is premiered by trumpeter Håkan Hardenberger and the Collegium Musicum of Zurich. The work is commissioned and conducted by Paul Sacher and this association leads in 1989 to the Paul Sacher Stiftung's acquisition of all the manuscript material in Birtwistle's possession and an ongoing archival relationship.

1988 Knighted by Queen Elizabeth II. Major BBC 'Endless Parade' Birtwistle Festival at the , London including UK premiere of his concerto Endless Parade.

1989 Discovers poetry of Paul Celan in translation and begins 9 Settings of Celan (1989-96).

1991 premiered at House Covent Garden. Wins Evening Standard Award for Opera a second time. Featured composer at Wien Modern festival.

1992 Antiphonies premiered in Paris by and Joanna MacGregor (piano), conducted by Boulez. Appointed to Board of the South Bank Centre, London (1992-2002).

1993 Appointed Composer-in-Residence to London Philharmonic Orchestra.

1994 Appointed first Professor of Composition at King's College, London (1994-2002). Gawain revived

BIOGRAPHY 6 at the Royal Opera House in revised version, followed by a recording (Collins Classics 1996). premiered by Glyndebourne Touring Opera and subsequently revived at Glyndebourne Festival (1995), with further new productions (in German) in Heidelberg and . Tour of Earth Dances by Cleveland Orchestra conducted by Christoph von Dohnányi includes USA, Salzburg Festival and the BBC Proms, followed by a recording (Decca 1996). BIOGRAPHY 1995 Awarded the Ernst von Siemens Foundation Prize. Tribute concert of Secret Theatre and Endless Parade given in Munich. Moves to Boosey & Hawkes Music Publishers. premiered at the Last Night of to controversial critical acclaim.

1996 Moves from France to new permanent home in Mere, Wiltshire. Pulse Shadows premiered in Witten, . South Bank Centre's 'Secret Theatres' Festival includes UK premiere of Pulse Shadows and a new semi-staged production of The Mask of Orpheus, followed by a recording (NMC 1997). Mitsuko Uchida is soloist in US premiere of Antiphonies with Los Angeles Philharmonic and Boulez.

with Paul Clarvis and John Harle at rehearsals for Panic (1995) Photo: Malcolm Crowthers

BIOGRAPHY 7 1997 Appointed Director of Composition at Royal Academy of Music, London.

1998 Exody premiered in Chicago by the Chicago Symphony Orchestra, conducted by , followed by its European premiere at the BBC Proms. conducts The Triumph of Time with City of Birmingham Symphony Orchestra in UK and at Konzerthaus in Vienna. Made Fellow of King's College, London. Update to Michael Hall’s study of his music published (Harrison BIOGRAPHY Birtwistle in Recent Years, Robson Books).

1999 Rattle conducts Earth Dances with CBSO in UK and Vienna.

2000 The Last Supper premiered at the Staatsoper, , conducted by Barenboim. The production travels to Glyndebourne Touring Opera (conducted by Elgar Howarth) in the autumn and Glyndebourne Festival the following summer. Two full-length studies of his music published by Robert Adlington (The Music of Harrison Birtwistle, University Press) and Jonathan Cross (Harrison Birtwistle: Man, Mind, Music, Faber & Faber).

2001 Boulez tours Earth Dances with Orchestra, opening three major festivals: musica viva in Munich, Wien Modern, and European Music Month in Basel. Made Companion of Honour by Queen Elizabeth II. Chairholder in Composition at University of Alabama (2001-02).

2002 Returns to the to provide music for Sir Peter Hall's production of Euripides' Bacchae. The Shadow of Night, a Cleveland Orchestra commission, is premiered under Dohnányi in Cleveland, with a subsequent performance at Carnegie Hall, New York. Teldec recording of Pulse Shadows wins Gramophone Award for Contemporary Music.

2003 Game for ensemble and two conductors premiered by Ensemble Modern at RUHRtriennale and by London Sinfonietta at Huddersfield Festival. The Gleam, a Christmas carol, premiered at King’s College Cambridge Festival of .

BIOGRAPHY 8 2004 Featured composer at Aldeburgh Festival, including premiere of chamber opera The Io Passion. Featured composer at Lucerne Festival, including Night's Black Bird commissioned as a companion piece to The Shadow of Night. An extended 70th birthday celebration under the title ‘Birtwistle Games’ is held at the Southbank Centre, including a major retrospective of his music and an exhibition of some of his ‘falling line’ drawings.

BIOGRAPHY 2006 Begins series of Bogenstrich (‘bow-stroke’) compositions for various combinations of , voice and piano.

2008 The premiered by The Royal Opera, Covent Garden, conducted by . Production subsequently released on DVD by Opus Arte. String Quartet: The Tree of Strings premiered by in Witten and then toured around Europe.

2009 , a new music-theatre piece based on the story of Orpheus and , initiates the Britten Studio at the Aldeburgh Festival, with further stagings at the London Southbank Centre, Holland Festival, Bregenz Festival and in the USA. Act 2 of The Mask of Orpheus given semi- staged performance at the BBC Proms to mark his 75th birthday. Full-length study of The Mask of Orpheus by Jonathan Cross published (Ashgate).

2010 The Angel Fighter premiered at the BachFest in the Thomaskirche. Made Honorary Doctor of Music by Cambridge University, to add to similar honours already received from City, Hull, London, Manchester, Salford and Sussex Universities.

2011 Christian Tetzlaff premieres Concerto for and Orchestra with the Boston Symphony Orchestra, followed by the European premiere at the BBC Proms. In Broken Images (after Gabrieli) premiered by London Sinfonietta in Milan and Turin to mark 150th anniversary of the unification of Italy. NMC recording of Night's Black Bird (disc also containing The Shadow of Night and The Cry of Anubis) wins Gramophone Award for Contemporary Music.

BIOGRAPHY 9 2012 Appointed Visiting Professor at the Royal Academy of Music. Complete string quartets recorded by Arditti Quartet on Aeon label. Gigue Machine for solo piano premiered by in Stuttgart and played at the BBC Proms. Death of his wife Sheila. Full-length study of his theatre works published by David Beard (Harrison Birtwistle’s and Music Theatre, Cambridge University Press). Premiere in Amsterdam of The Moth .

2013– Revival of at The Royal Opera in London BIOGRAPHY (January 2013). 80th birthday (15 July 2014).

Jonathan Cross, 2012 (Professor of Musicology at the ; author of Harrison Birtwistle: Man, Mind, Music [Faber & Faber/Cornell University Press, 2000] and Harrison Birtwistle: The Mask of Orpheus [Ashgate, 2009])

with Minotaur sculpture by Beth Carter (2005) Photo: Malcolm Crowthers

BIOGRAPHY 10 Harrison Birtwistle’s music reflects an intensely personal vision of the world in which degrees of musical complexity may be related to our experience of the world by metaphors of journeying, ritual, or multiple perspectives of the same object. Although influenced to varying degrees by Stravinsky, Messiaen, Boulez and Cage, his distinctive characteristics include wind- and percussion-led antiphony, extended freeflowing over a mechanical ground, and shifting pulses that question our ability to count clock time. Textures may become densely layered, but from such individual voices speak with fanfare- or dance-like gestures. Birtwistle’s music, in other words, is always firmly grounded in the body. This should come as no surprise given his early experience

INTRODUCTION of musical theatre in Accrington, where he played clarinet and in the pit, and his role as Director of Music at London’s National Theatre from 1975 to 1983.

Breakthrough works from the 1960s including Tragoedia, Verses for Ensembles and his first opera Punch and Judy, together with the orchestral Earth Dances – Birtwistle’s Rite of Spring – are muscular and extrovert, guided by Stravinsky. Yet there is also an introspective side to Birtwistle that turns inwards to technical experiment, restrained lyricism, or dark melancholy. Examples include The Corridor, an exercise in experimental theatre that examines Orpheus’s loss of Eurydice through a series of increasingly urgent laments, the darkly evocative, brooding orchestral processionals The Shadow of Night and Night's Black Bird, the ethereal Three Latin Motets for a cappella choir from the opera The Last Supper, the intricately mechanical yet nuanced, jazz-like dialogue between piano and percussion in The Axe Manual, the crisp, finely-etched Crowd for solo harp, and the perfectly-timed build in tension to the Minotaur’s first appearance in his recent opera The Minotaur.

While Birtwistle is remarkable for the consistency of his musical vision there are fascinating signs of a ‘late’ style in his recent music. Most obvious is a turn to string writing following an earlier preference for winds and percussion. Recalling The Minotaur and the saxophone solo in Panic, the soloist in the Violin Concerto has a frenetic energy that is balanced by moments of dreamy introspection; the Fantasias and Friezes for string quartet in Pulse Shadows – a key work that sets Holocaust-related poems by Paul Celan – are intricately crafted; Bogenstrich and Trio explore fugue

INTRODUCTION 11 INTRODUCTION Photo: MalcolmCrowthers with theOresteia masks,NationalTheatre,London (1981) 2005].) 2012]; co-authorofMusicology:theKeyConcepts[Routledge, Birtwistle’s OperasandMusicTheatre [CambridgeUniversityPress, (Senior LecturerinMusicatCardiffUniversity;authorofHarrison David Beard,2012 regenerative. a lightthatisprovocative yet stimulating,fractured yeteternally Gabrieli. Here glimpsesfrom Birtwistle’s ownpastare viewedin In BrokenImages,inspired bytheantiphonal musicofGiovanni over earlieraccomplishments,asinthestunningensemblework and libretto forTheLastSupper , whichisrevisited inAngelFighter the humanormaterialfrom thedivineexplored inRobinBlaser’s And whilethemesare carried forward, suchastheinseparabilityof relationship withlandscape,whichechoesearlierBritishcomposers. Strings ismasterful:earthyandpoignant,itreveals Birtwistle’s deep suggest are-examination oftechnique.StringQuartet:TheTree of own terms;arrangementsofBachfuguesforstringquartetalso and surprisinglyRomanticstringtimbres, albeitonBirtwistle’s , Birtwistle has been casting his eye back The MothRequiem,Birtwistlehasbeencastinghiseyeback

INTRODUCTION 12

L’œuvre de Harrison Birtwistle reflète une vision profondément personnelle du monde dans laquelle différents degrés de complexité musicale croisent l’acquis de chacun par le biais de métaphores invoquant le voyage, le rite ou les multiples perspectives envisagées d’un même objet. Quoiqu’influencée, à des niveaux divers, par Stravinsky, Messiaen, Boulez et Cage, son style distinctif se caractérise par le recours à l’alternance de cuivres et de percussion, par de larges mélodies évoluant librement sur fond mécanisé et par des pulsations changeantes remettant en question la capacité individuelle de perception et de mesure du temps. Les textures peuvent se superposer en un ensemble sonore dense dont surgissent des voix isolées en fanfare ou sur un pas de danse. En d’autres termes,

INTRODUCTION la musique de Birtwistle s’ancre fermement dans le ressenti corporel, ce qui, étant donné sa première expérience de théâtre musical à Accrington en tant que clarinettiste et saxophoniste dans la fosse d’orchestre et ses fonctions de directeur de la musique exercées de 1975 à 1983 au London National Theatre, ne saurait surprendre.

Ses principales œuvres des années 1960, parmi lesquelles Tragoedia, Verses for Ensembles, son premier opéra Punch and Judy ainsi que les Earth Dances orchestrales – son « Sacre du Printemps » – sont musclées et extroverties, dans la lignée de Stravinsky. Toutefois, Birtwistle dévoile également son côté introspectif intériorisé dans l’expérimentation technique, le lyrisme contenu ou la sombre mélancolie émanant d’œuvres telles que The Corridor, essai de théâtre expérimental sur la perte d’Eurydice par Orphée impliquant une série de lamentations de plus en plus pressantes, The Shadow of Night et Night’s Black Bird, œuvres orchestrales sombrement évocatrices à la progression inquiétante, les Three Latin Motets éthérés pour chœur a capella extraits de l’opéra The Last Supper, ainsi que du dialogue en style jazz à la mécanique à la fois complexe et nuancée entre piano et percussion de The Axe Manual, de la finesse acérée de Crowd pour harpe solo et de la montée parfaitement contrôlée dans le temps de la tension précédant l’apparition du Minotaure de son récent opéra The Minotaur.

Tout en maintenant une remarquable cohérence de sa vision musicale, la production la plus récente de Birtwistle révèle des signes fascinants d’un style « tardif », dont l’un des plus évidents est un nouvel attrait pour les cordes, alors que ses préférences précédentes se tournaient vers les instruments à vent et la percussion. Le Violin

INTRODUCTION 13 INTRODUCTION In Harrison Birtwistles Musik spiegelt sich eine zutiefst persönliche In HarrisonBirtwistlesMusikspiegeltsicheinezutiefstpersönliche Routledge, 2005) Press, 2012;co-auteurde Musicology:theKeyConcepts, (Senior Lecturer enMusique del’UniversitéCardiff, auteurde David Beard, 2012 régénératrice. éternellement lumière simultanémentprovocatrice etstimulante,brisée laquelle leséclatsdupassécompositeursontéclairésd’une inspirée parlesprocédés antiphonaires deGiovanniGabrielidans comme dansInBrokenImages,extraordinaire œuvre d’ensemble Requiem, Birtwistlerepense certaines desesréalisationspréalables pour du matérieletdivin,approfondie danslelivret deRobinBlaser développant desthèmes,telsquel’inséparabilitédel’humainou qui faitéchoàdescompositeursbritanniquesantérieurs.Tout en évoque laprofonde relation deBirtwistleaveclepaysagenaturel le magistralStringQuartet:TheTree ofStrings,rustiqueetpoignant, cordes confirmentégalement unereconsidération detechnique: romantiques. Sesarrangements defuguesBachpourquatuorà la formedefugueainsiquedestimbres decordes étonnamment and – déploientunenchevêtrement éminemmentélaboré.Bogenstrich mettant enmusiquedespoèmessurl’HolocaustedePaulCelan et lesfrisespourquatuoràcordes dePulseShadows–œuvre-clé de méditationsongeuse.Lesconfigurationsenstylefantaisie possède uneénergiefrénétiquecontrebalancée pardesmoments Concerto, rappelantTheMinotauretlesaxophonesolistedePanic Harrison Birtwistle’s OperasandMusicTheatre,CambridgeUniversity with PierreBoulezinLondon(1993) Photo: MalcolmCrowthers Trio exploite,quoiqueselonlestermessinguliersdeBirtwistle, The LastSupperetrevisitée dans Angel FighteretTheMoth

INTRODUCTION

14

In Harrison Birtwistles Musik spiegelt sich eine zutiefst persönliche Weltsicht, die durch Metaphern des Reisens, durch Rituale oder vielfache Perspektiven auf denselben Gegenstand Beziehungen zwischen verschiedenen Stufen musikalischer Komplexität und unserer Erfahrung der Welt herzustellen vermag. Auch wenn er sich in unterschiedlichem Maße von Strawinsky, Messiaen, Boulez und Cage beeinflussen ließ, besitzt seine Musik unverwechselbare Merkmale, wie die von Holzbläsern und Perkussion bestimmte Antiphonie, ausgedehnte, frei über einem mechanischen Untergrund fließende Melodien und Pulsschläge, die sich so verschieben, dass

EINF ÜHRUNG sie unsere Fähigkeit, Zeit zu messen, in Frage stellen. Das Satzgefüge verdichtet sich zuweilen zu eng verwobenen Schichten, doch aus solchen Klanglandschaften sprechen einzelne Stimmen mit fanfarenartigen oder tänzerischen Gesten. Anders gesagt, Birtwistles Musik ist immer tief im Körper verankert. Was nicht überraschen sollte, wenn man seine frühen Erfahrungen im Musiktheater in Accrington bedenkt, wo er Klarinette und Saxophon im Opernorchester spielte, und seine Rolle als Musikdirektor von 1975 bis 1983 am Londoner National Theatre.

Die Werke, mit denen ihm in den 1960er-Jahren der Durchbruch gelang, wie Tragoedia, Verses for Ensembles und seine erste Oper, Punch and Judy, zusammen mit den Earth Dances für Orchester – Birtwistles Frühlingsopfer – sind muskulös und extrovertiert; der Einfluss Strawinskys ist deutlich erkennbar. Gleichwohl besitzt Birtwistles Musik auch eine introspektive Seite, die sich zu technischen Experimenten, zurückhaltender Lyrik oder dunkler Melancholie nach innen wendet. Beispiele hierfür sind The Corridor, eine Übung in experimentellem Theater, die Orpheus’ Verlust der Eurydike durch eine Reihe immer dringlicherer Klagen betrachtet, die dunkel- beschwörenden, grübelnden Prozessionsstücke The Shadow of Night und Night's Black Bird, das ätherische Three Latin Motets für A-cappella-Chor aus der Oper The Last Supper, der von einer komplizierten Mechanik geprägte und gleichzeitig nuancierte, jazzartige Dialog zwischen Klavier und Perkussion in The Axe Manual, das forsche, scharf gezeichnete Crowd für Soloharfe und der perfekt aufgebaute Spannungsbogen beim ersten Auftreten des Minotaurus in seiner jüngsten Oper The Minotaur.

Obwohl die Konsequenz, mit der Birtwistle seine musikalische Vision verfolgt, bemerkenswert ist, zeigt seine neuere Musik

EINFÜHRUNG 15 faszinierende Anzeichen eines „Spätstils“. Am offensichtlichsten ist die Hinwendung zu Streichinstrumenten gegenüber der früheren Vorliebe für Holzbläser und Perkussion. In ihrer fieberhaften Energie, die von Momenten verträumter Innerlichkeit wieder ins Gleichgewicht gebracht wird, erinnert die Solostimme im Violinkonzert an The Minotaur und das Saxophonsolo in Panic; überaus komplex gebaut sind die „Fantasias“ und „Friezes“ für Streichquartett in Pulse Shadows – einem Schlüsselwerk auf Gedichte über den Holocaust von Paul Celan; Bogenstrich und Trio loten die Form der Fuge in überraschend romantischen Streicherklängen aus, wenn auch auf Birtwistles

EINF ÜHRUNG eigene Weise; die Bearbeitung von Bach-Fugen für Streichquartett unterziehen die Technik ebenfalls einer Neuüberprüfung. String Quartet: The Tree of Strings ist meisterhaft: ein erdiges, packendes Werk, das Birtwistles tiefe Beziehung zur Landschaft zeigt und darin die Erinnerung an frühe britische Komponisten wachruft. Und während er seine Themen weiterentwickelt, etwa das der Untrennbarkeit des Menschlichen oder Materiellen vom Göttlichen, das in Robin Blasers Libretto von The Last Supper durchscheint und in Angel Fighter und The Moth Requiem wieder aufgegriffen wird, behält Birtwistle frühere Techniken im Blick, etwa in dem von der antiphonalen Musik Giovanni Gabrielis inspirierten, überwältigenden Ensemblestück In Broken Images. Blicke auf Birtwistles eigene Vergangenheit erscheinen hier in einem , das provokativ und doch anregend ist, das sich bricht und doch immer wieder neu entsteht.

David Beard, 2012 (Musikdozent an der Universität Cardiff; Autor von Harrison Birtwistle’s Operas and Music Theatre [Cambridge University Press, 2012]; Mitautor von Musicology: the Key Concepts [Routledge, 2005].)

EINFÜHRUNG 16 Abbreviations

Woodwind Percussion (continued) picc piccolo tpl.bl temple block(s) fl vib afl flute wdbl woodblock(s) bfl flute xyl ob corA (English horn) cl clarinet (in A or Bb) Strings vln violin bcl vla Ebcl clarinet in Eb vlc cello dbcl clarinet db double bass or asax alto saxophone contrabass ssax saxophone bn dbn double bassoon or ABBREVIATIONS Keyboards kbd keyboard pft piano Brass synth synthesiser hn horn tpt trumpet Voices btpt bass trumpet S soprano trbn M mezzo-soprano btrbn bass trombone A alto cbtrbn contrabass trombone CT counter- ttrbn tenor trombone T tenor euph euphonium r Ba BBar bass baritone Percussion B bass BD bl block Languages Chin Chinese E English cimb G German crot L Latin cym cymbal S Spanish dr drum glsp perc percussion Others SD snare drum g l large susp.cym (single) d me medium tamb tambourine sm small t.bells tubular bells x ma maximum tam-t tam-tam min minimum TD tenor drum v. very tgl triangle

All other scorings are listed in full, or are a combination of the above

Standard order of instrumentation: fl.ob.cl.bn—hn.tpt.trbn.—perc—other—vlnI.vlnII.vla.vlc.db

Material on sale is indicated after each work entry

Where no parts are listed on sale, the work is available for rental

ABBREVIATIONS 17 The Corridor 2008 48 min A scena for soprano, tenor and six instruments Text: Libretto by David Harsent (E) S,T; fl.cl—harp—vln.vla.vlc “The Corridor deals with a single moment, when Orpheus, leading Eurydice out of OPERAS the underworld, turns around to look at her, and so loses her forever. Birtwistle and Harsent explode the moment of that glance into a series of that crystallise the characters’ situations and the separateness of their emotional worlds." () "The music of Eurydice grows slower and slower like an unwinding clock as she retreats ever deeper into the “corridor” of Hell, further than ever from the lamenting Orpheus. As a half-speaking narrator, she puts questions to the players who answer in anguished, rhapsodic music, as lyrical as anything Birtwistle has attempted.” () "…a movingly lyrical lament for loss of love.” (Sunday Times)

World Premiere: 12 Jun 2009 Britten Studio, Aldeburgh, Peter Gill, dir / , sop / Mark Padmore, ten; London Sinfonietta Conductor:

The Io Passion 2003 1 hr 35 min chamber opera Text: Libretto by (E) 2S,2Bar,2 actors (man + woman) basset cl—2vln.vla.vlc “…vivid, haunting and complex… it is an original fusion of music and drama, though one whose use of repetition, multiple representations and narrative layers clearly connect with Birtwistle’s earlier stage work… the whole thing is a singular achievement…” (The Guardian) “Birtwistle’s haunting, inventive music delves…deeply into the longings and confusion of the estranged lovers… it may be the most lyrical music the composer has written for the stage.” (Chicago Tribune)

World Premiere: 11 Jun 2004 Snape Maltings, Aldeburgh, UK Stephen Langridge, dir / Alison Chitty, designer; Aldeburgh Almeida Opera / Quatuor Diotima Conductor: Alan Hacker

OPERAS 18 The Last Supper 1998-99 1 hr 50 min Dramatic tableaux for 14 soloists, small female chorus and chamber orchestra Text: Robin Blaser (E-L) Main roles: S,T,Bar Secondary roles: 2CT,4T,2Bar,BBar,2B OPERAS Chorus (amplified): 3S,3M,3A; pre-recorded female chorus; pre-recorded mixed chorus 2(I,II=picc,afl).2(I,II=corA).2(I=Ebcl,bcl;II=bcl,dbcl).2(I,II=dbn)— 2.2.2(I=btpt,btrbn,II=btrbn).1—timp.perc(2):2tgl/mark tree/4wdbl/ 4tpl.bl/guiro/cabaca/tamb/4bongos/2tom-t/2military dr/TD/2BD(sm,lg)/ 2hi-hats/3susp.cym(+bow)/tam-t(lg)/tam-t(ampl)/nipple (lg)/ nohharp(amplified)—synth.sampler+kbd or laptop+kbd— (amplified)—strings(0.0.6.4.3) "...a magnificent and enthralling work... Birtwistle has created a powerfully melancholic soundworld, at once richly lyrical and hieratic." (The Observer) ""Who is the betrayer? What has been betrayed?" Christ taunts his disciples. And with those words he forces the 11 to re-admit Judas to the circle of apostles... Ultimately Christ and the apostles enter the olive garden. The cock crows. The end. What hardly seems like musico-dramatic material is transformed into an utterly gripping uninterrupted two hours of music theatre thanks to a compelling libretto by Blaser and the unyieldingly riveting music of Birtwistle." (Die Welt)

9790060112881 Libretto

World Premiere: 18 Apr 2000 Staatsoper, Berlin, Germany Martin Duncan, director; Deutsche Staatsoper Berlin Conductor: Daniel Barenboim

The Last Supper at the Glyndebourne Festival (2000) Photo: Mike Hoban

OPERAS 19 The Minotaur 2005-2007 1 hr 50 min Opera in 13 scenes Text: Libretto by David Harsent (E) Major roles: M,Bar,B; Subsidiary roles: 2S,CT,T,male speaker; Minor roles: 2S,M,2CT,speakers; chorus (SATB) 3(II,III=picc).3(III=corA).4(II=Ebcl,bcl;III=bcl;IV=bcl,dbcl). OPERAS asax.3(III=dbn)—4.4.4(IV=cbtrbn).2—timp(2 sets, on stage).perc(4): xyl/glsp/vib/crot/guiro/3tom-t(hi)/3tom-t(lo)/BD(sm)/BD(lg)/2log dr/tgl/ 4wdbl/4tpl.bl/2bongos/2conga dr/4susp.cym/3tam-t/2nipple (lg)— 2harp—cimb—strings(14.12.10.8.7) “Blood-drenched and sorrowful, majestic and raw, The Minotaur plunders the extremes of human nature in music of coruscating, storming beauty… Low woodwind, sensuous strings and the spangly clatter of the cimbalom colour the orchestra in sombre, glistening tones. The rewards are at once unsettling and exhilarating… the applause, though deserved by all, was primarily for yet further proof of Birtwistle’s epic creative clarity.” (Evening Standard)

“The moment when the beast stands revealed is a brilliant coup de théâtre. The drama is now both wonderful and dreadful; as more victims are raped and gored, blood upon blood, the crowd intones a drugged and ecstatic brutally shattered by a screeching chorus of winged furies. Here the music’s crazy momentum displays Birtwistle’s talents at magnificently full stretch… the evening is a glittering success.” (The Independent) “He is such a master of orchestration – he constantly takes the ear to new places, producing brilliant colours. And no one knows better how to build a tension, hold it, resolve it. There is hugely impressive writing for the slaughter of the innocents, shriek upon shriek cutting a swathe through the orchestra. Elsewhere, keening high brass over strings and low brass produces a mesmerizing effect. The work is broken by three orchestral toccatas, again with hauntingly beautiful material.” (Opera America)

9780851625553 Libretto

World Premiere: 15 Apr 2008 Royal Opera House, London, UK Stephen Langridge, director / Alison Chitty, designer; Royal Opera House Conductor: Antonio Pappano

OPERAS 20 OPERAS C theatre of melancholy hire materials. NB: Flutes2and3alsoneedpitchpipes,whichare suppliedwiththe and amplification)—strings claves/hi-hat/slapstick—2harps—digital kbd(with'electricpiano' wdbl(v.sm)/5bongos/5tom-t/glsp/5wdbl/5"-salmon reel/xyl/vib/BD(lg)/ bowed cym/tam-t(lg)/nipplegong(lg)/belltree/tgl/Chin.dr(hi)/ asax.3(III=dbn)—4.4.3.2—perc(5):marimba/t.bells/guiro(lg)/tamb/ 3(II=picc,III=picc,afl).3(III=corA).3(I=Ebcl,II=bcl,III=dbcl).ssax. for orchestra 1997 23:59:59 Exody t Padmore, Mark Bri Wo fl(=picc,afl).cl(=bcl)—harp—vln.2vla.2vlc Text: JohnDowlandand Thomas Campion(E) music theatre fortenorand ensemble 2009 (A Semper Dowland,semperdolens 9790060107955 9790060107955 C C Sympho n Wo FULL ORCHESTRA hicago o o perspectives." (TheGuardian) each other, sothatthelandmarksalongwayconstantlyreappearfromdifferent a musicallandscapethatoffersallkindsofalternativepathscrossandrecross regarded asbeingcompressedintoasinglemomentoftime,ittravelsthrough or tothesearchforawayout,perhapsfromlabyrinth...Thewholeactioncan be resonances: itcanrefertoanactofleaving,aritualthatsurroundsdeparture, achievements, richly scoredandfullofvividlyimaginedincident...LikesomanyBirtwistle's finest "It isanimposing,many-layeredworkina30-minute,singlemovementspanthat is unfolding ofideaandgesture."(ChicagoTribune) always withasenseofrenewalnolesskeenthanthatgoverningitsrichlyimagined "...a wonderful,importantnewpiece,musiconewillwishtoreturnagainandagain, lwa t n n r r ten Studio, Aldeburgh,UK or: Ryan Wigglesworth ductor: Ryan ductor: DanielBarenboim ld Premiere: 12 Jun 2009 12 Jun Premiere: ld ld Premiere: 05 Feb 1998 Feb 05 Premiere: ld

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FULL ORCHESTRA nipple gong(lg)—2harp—strings(min:16.14.11.10.8) slit dr/BD(lg)/susp.cym/clashedcyms/metaltube**/hi-hat/tam-t(lg)/ IV=picc.tpt).4.2—perc(5):xyl/vib/marimba/t.bells/2wdbl/2guiro/claves/ 3(II,III=picc).3.3(II=Eb,III=bcl,dbcl).3(III=dbn)—6.4(III=btpt*, for orchestra 2004 Night’ 9790060115578 strings(min:16.14.11.10.8) hi-hat/2tam-t(med,lg)/2nipple gongs(med,lg)—2harps—cel— 3tgl(hi,med,lo)/3wdbl/2guiro/claves/BD(lg)/susp.cym(sm)/ 6.4(III=picc.tpt).4.2—perc(5):glsp/xyl/vib/bass marimba/t.bells/ 3(II=picc,III=picc,afl).3(III=corA).2(II=Ebcl).bcl(=dbcl).3(III=dbn)— for orchestra 2001 T 9790060118524 ** pieceofscaffold tube struckwithmetalhammer * IfnoBassTrumpet available,playonTenor Trombone C Kult Wo Severance Hall, C Hall, Severance Wo C C C levelan levelan o o he ShadowofNight always takenhisownpath."(ClevelandPlainDealer) elusive, whichisasthingsshouldbe:theyarestartingpointsforacomposerwho has Albrecht Dürer. ThesereferencesinformTheShadowofNightinwaysthatareoften Dowland’s song,InDarknessLetMeDwell , andMelancoliaIanengravingby In conceivingthework,Birtwistledrewinspirationfromtwodarksources:John audacity… "…the natureofmelancholyisexploredinmusichallucinatory master." (FinancialTimes) unsurpassed balanceofformandcontent...Birtwistlecomesacrossasanold multiplicity ofopenmelodyandintricatelydevelopedpowersuggestion…an 30-minute arcwithaslow-burn,cumulativeeffect,capturingthelistener "Birtwistle's mostimpressiveorchestralcanvastodate...apowerfullyconcentrated a secretyettobedisclosed."(TheGuardian) Night's BlackBird avividintensity, butitcamewithasenseofunease,asiftherewas the orchestra'ssound-incisivebrass,shrillwoodwindsandstridentstringsgave of percussion,andthedarkshimmerstringharmonics.Theclaritybrilliance "...shot throughwithastrangeluminosity-high,bird-likefluteline,delicaterustle n n r r u ductor: FranzWelser-Möst ductor: ChristophvonDohnányi ld Premiere: 21 Aug 2004 21 Aug Premiere: ld ld Premiere: 10 Jan 2002 10 Jan Premiere: ld r- u r-

nd Kongresszentrum, Switzerland Lucerne, d Orches d Orches s BlackBird

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30 min min 30 12 min min 12 FULL ORCHESTRA C London Sinfonietta;Richard AlstonDanceCompany Eli Queen Wo 9790060111037 9790060111037 strings(1.1.1.1.1 ormax:6.6.4.3.2) 1(=picc,afl).1(=corA).1(=bcl).1(=dbn)—1.1.btrbn.0—perc(1):glsp/vib— for chamberorchestra orensemble 1996 Johann SebastianBach,arrangedbyHarrisonBirtwistle Bach Measures 9790060112522 susp.cym(med)/2tam-t(med,lg)/BD(lg)—strings 3.3.3.3—6.4.4.1—timp(2).perc(3):hi-hat/2susp.cym(lg)/2wdbl(hi)/ for orchestra 1999 Sonance Severance2000 Severance Hall, C Hall, Severance Wo C C CHAMBER ORCHESTRA levelan o o strings, brassandwoodwind."(TheTimes) "...pearly luminosity... Bachorganvignetteslaidbareinteasingarrangementsfor fanfare-like orLastPost-ish."(SundayTimes) "severing" itjustatthepointwhenatrumpetlinehasemergedasrecognisably orchestraltexture, "Birtwistle transformstheideaofsonanceintoaspreadblustery n n r r ductor: DiegoMasson ductor: ChristophvonDohnányi ld Premiere: 04 May 1996 May 04 Premiere: ld ld Premiere: 08 Jan 2000 Jan 08 Premiere: ld

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SOLO INSTRUMENT AND ORCHESTRA susp.cym/nipple gong(lo)/tam-t—2harp—strings(14.12.10.8.6) guiro,c.40cm)/claves/castanet machine/tamb/4bongos/BD(lg)/ perc(3):glsp/xyl/crot/vib/marimba/5tpl.bl/guiro(long bamboo 2(II=picc).2(II=corA).3(I=Ebcl,II=bcl,III=dbcl).2(II=dbn)—4.2.2.1— for soloviolinandorchestra 2009-10 Concerto forViolin andOrchestra 9790060103407 9790060103407 strings 2(I,II=picc).2(II=corA).2.2—4.2.0.0—timp.perc(1):t.bells/glsp—harp— for tubaandorchestra 1994 T 9790060125256 C Christian Tetzlaff, violin;BostonSymphonyOrchestra Sympho n Wo C t Slade, Owen Eli Queen Wo o o he CryofAnubis before closing in marvellously evocativefashion."(TheTimes) before closinginmarvellously Birtwistle's score...amuted,sombreprocessional,gatheringmomentumandintensity "Anubis, halfhuman,divine,epitomisesthatotherworldlysphereconjuredby concerto seemedincreasinglyinevitableandsubstantial."(SundayTimes) begin with–Birtwistlereallyhasensuredthatthesoloist’s noteisaudible–the every by thesoloists,concertino-chorus,tutti,butarenot“argued”over... Clearto rediscover theconcertoparadigmfromscratch...Ideasflowforth,are“discussed” form whilealwayskeepingatasubtleremovefromit.ItisasthoughBirtwistlehasto "A workoftrueoriginality... acontinuous25-minutespanthatevokestraditional n n r r ductor: Marcelo Lehninger ductor: ElgarHowarth ld Premiere: 03 Mar 2011 Mar 03 Premiere: ld ld Premiere: 16 Jan 1995 16 Jan Premiere: ld

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St St udy Scoreinpreparation udy Score-HawkesPocket1292 24

31 min min 31 13 min min 13 SOLO INSTRUMENT AND ORCHESTRA C William Dazeley, baritone; PhilharmoniaOrchestra Roy Wo strings 2.2.2.2(II=dbn)—4.2.2.1—perc:claves/susp.cym/tam-t/BD—harp— Stokes. (E) Text: PoembyAlfred Brendel. EnglishversionbytheauthorwithRichard for baritoneandorchestra 2000, 2003-04 T C Joanna MacGregor, pi Eli Queen Wo log dr/BD/tam-t(orgong(med))—strings(1.1.1.1.1) solo pft—0.picc.1.1.1—1.1.1.0—perc(1):3wdbl(sm,med,lg)/2dr(sm)/ for pianoandensemble 1996 Slow Frieze 9790060106170 timp 3(II,III=picc).3(III=corA).2(II=Ebcl).bcl.3(III=dbn)—4.4(I=picc.tpt).3.1— 4tom-t/2congas/BD(with pedal)/hi-hat solo altosax;drummerwithdoublekit:4wdbl/4tpl.bl/4bongos/ and percussion a dithyrambforaltosaxophone,jazzdrummer, wind,brass 1995 Panic C John Harle, saxophone/ Roy Wo VOICE ANDORCHESTRA o o o hree Brendel Settings could havefound…"(DailyTelegraph) nevertheless reachedthesoulofsaxophoneandrevealedwondersonlyBirtwistle surrendering tothesheer, elementalspectacleofitall.Neitherpopnorjazz, "…as exhilaratingasbeingcaughtunexpectedlyinaviolentthunderstormand n n n r r r al Alber al al Alber al ductor: ChristophvonDohnányi ductor: MarkusStenz ductor: ld premiere complete: 17 2004 Aug complete: premiere ld 1996 Apr 26 Premiere: ld ld Premiere: 16 Sep 1995 16 Sep Premiere: ld

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25 16 min min 16 18 min min 18 12 min min 12

17 Tate Riffs 2000 5 min for ensemble 3fl.3ob.3cl—3tpt—2marimbas(=t.bells)/bass marimba

World Premiere: 11 May 2000 Tate Gallery, London, UK London Sinfonietta Conductor: Martyn Brabbins

Cantus Iambeus 2004 7 min for thirteen instruments 1(=picc).1.1(=bcl).1(=dbn)—1.0.0.0—perc(1):vib/marimba/glsp—harp— pft—strings(1.1.1.1.1) “…one of his most polished clockwork toccatas.” (Sunday Times)

“Cantus Iambeus simply bursts with all its composer’s usual energy, quirkiness and obsessions.” (The Independent)

World Premiere: 16 Mar 2005 Purcell Room, London, UK Conductor: Lionel Friend

Crescent Moon over the Irrational ENSEMBLE WITHOUT VOICE(S) 2010 3 min for ensemble fl(=picc).cl—harp—2vln.vla.vlc

World Premiere: 21 Nov 2010 , London, UK Nash Ensemble

Fanfare 2001 3 min for brass and percussion 4hn.4tpt.4trbn.2tuba—timp(2).perc(3):3wdbl/3susp.cym/ 3tam-t(med,med/lg,lg)/6tpl.bl

World Premiere: 03 May 2001 Royal Festival Hall, London, UK Philharmonia Orchestra Conductor: Pierre-André Valade

ENSEMBLE WITHOUT VOICE(S) 26 Fantasia upon all the notes 2011 10 min for ensemble fl.cl—harp—2vln.vla.vlc

World Premiere: 13 Mar 2012 Wigmore Hall, London, UK Nash Ensemble

In Broken Images 2011/12 20 min after the antiphonal music of Gabrieli for ensemble 2(I,II=picc).2.2(I=Ebcl,II=bcl).bcl(=dbcl).2(II=dbn)—0.3(III=picc. tpt).2.btrbn.0—perc(3):3xyl/15wdbl/12bongos/6tom-t/small BD(sm) (or tom-t(lo))/3lion's roar(lo)/bamboo guiro/hi-hat/tamb/castanet machine—strings(3.0.3.3.0) “The work's four instrumental groups – woodwind, brass, strings and percussion – echo and react to each other as though in a latter-day Gabrieli canzona... the way in which his blocks of musical material move in and out of focus, become submerged and resurface again in different forms, or just occasionally combine into gestures of seismic intensity, still seems the product of a mysterious ritual of which the audience only experiences one element.” (The Guardian)

World Premiere: 05 Sep 2011 MITO Settembre Musica, Teatro Dal Verme, Milan, Italy London Sinfonietta Conductor: ENSEMBLE WITHOUT VOICE(S) Sonance 2000 1999 5 min for brass ensemble hn.4tpt.3trbn.euph.tuba

World Premiere: 02 Jan 2000 St Paul's Cathedral, London, UK London Brass

Tenebrae David 2001 8 min for brass ensemble hn.4tpt.4trbn.tuba

World Premiere: 07 Sep 2001 , London, UK London Brass

ENSEMBLE WITHOUT VOICE(S) 27 ENSEMBLE WITHOUT VOICE(S) see also Pulse Shadows also see C Claudia Barainsky;KlangforumWien Wi Wo C perc(3):3vib/3marimbas—2pft—4vln.3vla.3vlc 2(I,II=picc,afl).2(I,II=corA).2(II=bcl,Ebcl).2—2.2(II=picc.tpt).2.1— for largeensemblewithtwoconductors 2002-03 T 9790060106194 The completecycleisavailableonhire from Boosey&Hawkes. All songsare performableasindividualitems.3songsare published byUniversalEdition. Solo Sop—2cl—vla.vlc.db Text: PaulCelan,translatedbyMichaelHamburger(E,G) for sopranoandensemble 1989-96 9 SettingsofCelan London Si C Wo 1(=picc).1.1.1(=dbn)—1.1.1.0—strings(1.1.1.1.1) for ensembleof12players 2008 Vire 9790060116452 C Ensemble Modern Gebläsehalle, Landschaft Wo ENSEMBLE WITHVOICE(S) o o o o heseus Game virtuosity withinoriginalmusicalarchitecture."(TheGuardian) the pointofreferenceandfinallyameansresolutiontowhatisthrillinginstrumental glinting mysteriouscoloursandsometimesviolenteruptionsofsonority. Themelodyis meshing clockworksandintenselyintricatetexturesoftheensemblewriting,full gives Theseustoleadhimoutofthelabyrinth.Thelabyrinthitselfispresumably "Birtwistle comparesthecontinuousmelodiclinetomagicthreadthatAriadne t n n n n ten, Germany r r r ductor: JohannesKalitzke ductor: ElgarHowarth s ductor: MartynBrabbinsandPierre-André Valade ld premiere complete: 28 Apr 1996 Apr 28 complete: premiere ld ld Premiere: 06 Sep 2008 Sep 06 Premiere: ld ld Premiere: 19 Sep 2003 19 Sep Premiere: ld ervatorio, Turin, Italy

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Three Arias , arranged by Harrison Birtwistle (G) 2003-04 15 min for soprano, and ensemble ob.2cl(=bcl)—harp—marimba

World Premiere: 29 Aug 2004 Lukaskirche, Lucerne, Switzerland (oboe), Ursula Holliger (harp), Andrew Watts (counter-tenor), Claire Booth (soprano), Alan Hacker (clarinet)

Pulse Shadows 1989-96 1 hr 4 min 9 Settings of Celan interleaved with 9 Movements for String Quartet Text: Paul Celan, translated by Michael Hamburger (E,G) Solo sop—string quartet—2cl—vla.vlc.db 3 movements from each constituent cycle are published by Universal Edition. The complete work is available on hire from Boosey & Hawkes. "Pulse Shadows is a consummation of Birtwistle's art... His word-setting has a toughness that keeps faith with the poetry, and his jittery quartet idiom a virtuosity nowhere more apparent than in Todesfuge, a spectacular (spectral) version of a late Beethoven fugue." (Sunday Times) ENSEMBLE WITH VOICE(S) 9790060106163 Study Score - Hawkes Pocket Score 1302

World Premiere: 29 Apr 1996 Queen Elizabeth Hall, London, UK Claron McFadden, soprano; Capricorn; Arditti Quartet Conductor: Lionel Friend

The Woman and the Hare 1999 15 min for soprano, reciter and ensemble Text: David Harsent (E) 2fl(I=picc,II=bfl).cl(=Ebcl)—perc(1):vib/glsp/2conga dr—cel—2vln.vla.vlc "In The Woman and the Hare the text is shared between a soprano and a female reciter, each with her own musical speed. The relationship between the two elements constantly shifts, the soprano's ravishing contributions punctuate the speaker's delivery, sometimes taking off from an immediate idea, sometimes looping back to dwell upon an earlier image, and gradually filling out an expressive canvas that seems far larger than a 15-minute work can encompass." (The Guardian)

World Premiere: 09 Mar 1999 Purcell Room, London, UK Claron McFadden, soprano; Julia Watson, narrator; Nash Ensemble Conductor: Lionel Friend

ENSEMBLE WITH VOICE(S) 29 9 Movements for String Quartet 1991-96 31 min Individual movements may be grouped as required. 3 movements are published by Universal Edition. The complete work is available on hire from Boosey & Hawkes.

World premiere complete: 29 Apr 1996 Queen Elizabeth Hall, London, UK Arditti String Quartet

see also Pulse Shadows in works for Ensemble with voice(s)

Aubades and Nocturnes from The Io Passion 2003 14 min for basset clarinet and string quartet

World Premiere: 10 Jun 2006 University Concert Hall, Glasgow, UK Alan Hacker, clarinet; Edinburgh Quartet

The Axe Manual 2000 23 min for piano and percussion perc(1):marimba/vib/2bongos/2congas/3low dr/log dr/4wdbl/5tpl.bl/ hi-hat/cowbell—pft

CHAMBER WITHOUT VOICE(S) "...an exuberant, and, in its central stages, delicate essay in 'extending' piano sound by means of metal and wood percussion." (Gramophone)

World Premiere: 22 Mar 2001 Symphony Center, Chicago, USA Emanuel Ax, piano; , percussion

Bourdon 2009 5 min for violin and viola

World Premiere: 25 Nov 2009 The Warehouse, Theed Street, London, UK London Sinfonietta

CHAMBER WITHOUT VOICE(S) 30 Bogenstrich: Lied ohne Worte 2006 7 min for cello and piano 9790060119019 Parts

World Premiere: 09 Aug 2006 Historische Stadthalle, Mendelssohn-Saal, Wuppertal, Germany Adrian Brendel, vlc; , pft

for complete Bogenstrich see Chamber with voice(s)

Bogenstrich: Variationen 2007 6 min for cello and piano

World Premiere: 14 Oct 2007 Wigmore Hall, London, UK Adrian Brendel, cello; Till Fellner, piano

for complete Bogenstrich see Chamber with voice(s)

Bogenstrich: Wie eine Fuge 2008 7 min for cello and piano CHAMBER WITHOUT VOICE(S)

World Premiere: 22 May 2009 Margreid, Alto Adige, Italy Adrian Brendel, cello; Till Fellner, piano

for complete Bogenstrich see Chamber with voice(s)

Crowd 2005 10 min for solo harp 9790060118517 Harp score

World Premiere: 07 Oct 2005 Hochschule für Musik und Theater, Rostock, Germany Antonia Schreiber, harp

CHAMBER WITHOUT VOICE(S) 31 Double Hocket 2007 2 min for piano trio

Duet 3 2010 3 min for cor anglais and bassoon

World Premiere: 21 Jul 2010 Private performance, London, UK London Sinfonietta

Five Little Antiphonies for Amelia 2006 2 min for two

Hoquetus Petrus 1995 2 min for two and 2fl(I=picc)—picc.tpt 9790060107948 Score & parts

World Premiere: 30 Mar 1995 CHAMBER WITHOUT VOICE(S) Chicago, USA Chicago Symphony Ensemble

An Interrupted Endless 1991 5 min for oboe and piano 9790060106606 Parts

World Premiere: 07 Nov 1991 BBC Concert Hall, London, UK Nick Daniel, oboe; Julius Drake, piano

CHAMBER WITHOUT VOICE(S) 32 The Message 2008 3 min for E flat clarinet, trumpet in C and military drum

World Premiere: 02 Dec 2008 Queen Elizabeth Hall, London, UK London Sinfonietta

Oboe Quartet 2009-10 18 min for oboe, violin, viola and cello 9790060124983 Score in preparation

World premiere complete: 08 May 2011 Rudolf Steiner Schule, Witten, Germany Heinz Holliger, oboe; Swiss Chamber Soloists

Roddy’s Reel 2009 3 min for bass clarinet, with audience participation

World Premiere: 02 Apr 2009 Raasay Community Hall, Isle of Raasay, UK Sarah Watts, bass clarinet; CHAMBER WITHOUT VOICE(S)

The Silk House Tattoo 1998 15 min for two trumpets and 3 side drums (different sizes, one player)

World Premiere: 19 May 1999 Lake Placid, USA John Wallace, trumpet, and others

CHAMBER WITHOUT VOICE(S) 33 CHAMBER WITHOUT VOICE(S) Ardi Snape Malt Wo for stringquartet C T Ardi Rudolf St Wo for stringquartet Johann SebastianBach,arrangedbyHarrisonBirtwistle 2007 String Quartet:TheTree ofStrings 9790060113369 Text: LorineNiedecker(E) for sopranoandcello 1998 9 SettingsofLorineNiedecker 9790060124976 for violin,celloandpiano 2010 T 2008 Valdi Purcell Room, London, UK Wo C Schlosst Wo CHAMBER WITHVOICE(S) o rio o hr performance, andtheArdittisplayitwonderfully." (TheGuardian) achievements. Itseemstorevealmoremysteriesandbeautieswithevery Hebridean islandofRaasayisstartingtoemergeasonehisfinestrecent ofalostmusicalcultureonthe "This evocationofwhatmighthavesurvived "...music offragilebeauty... likeabrittleleafdisintegrating."(TheTimes) re r r r r ntrapunctus VII, Contrapunctus XII, Contrapunctus XVII XII, Contrapunctus VII, Contrapunctus ntrapunctus t t ld Premiere: 27 Jun 2008 27 Jun Premiere: ld 2008 27 Apr Premiere: ld ld Premiere: 16 Mar 2000 16 Mar Premiere: ld ld Premiere: 07 Apr 2011 07 Apr Premiere: ld ti Quartet ti Quartet n y Cerovsek, Fellner, violin;AdrianBrendel, cello;Till piano

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34 30 min min 30 15 min min 15 12 min min 12 9 min min 9 26 Orpheus Elegies 2003-04 35 min for oboe, harp and countertenor Text: Rilke (G) Individual movements may be selected. "Orpheus Elegies is delightful - written in Birtwistle's late-flowering 'lyrical' style, with the old, craggy angularities now tempered by elegance and a haiku-like concision." ()

World premiere complete: 29 Aug 2004 Lukaskirche, Lucerne, Switzerland Heinz Holliger, oboe; Ursula Holliger, harp; Andrew Watts, counter-tenor

Bogenstrich (Bow-stroke) Meditations on a poem of Rilke 2006-09 28 min for voice, cello and piano Text: Rainer Maria Rilke (G) 1. Liebes-Lied 1 2. Lied ohne Worte 3. Variationen 4. Wie eine Fuge 5. Liebes-Lied 2 Individual movements may be performed separately. CHAMBER WITH VOICE(S)

World premiere complete: 22 May 2009 Margreid, Alto Adige, Italy Roderick Williams, baritone; Adrian Brendel, cello; Till Fellner, piano

see also Chamber without voice(s) and Vocal

Bogenstrich: Liebes-Lied 2 2009 4 min for voice and cello Text: Rainer Maria Rilke (G)

World Premiere: 22 May 2009 Margreid, Alto Adige, Italy Roderick Williams, baritone; Adrian Brendel, cello; Till Fellner, piano

for complete Bogenstrich see Chamber with voice(s)

CHAMBER WITH VOICE(S) 35 CHAMBER WITH VOICE(S) ,tenor;SebastianBell,flute;StephenMarchionda, guitar Pi Wo gold,Mary Wie soprano; ComposersEnsemble Holy Wo Text: Tom Phillips(E) for baritone,doublebassandpercussion 2006 Song ofMyself 9790060821189 for solopiano 2000 : HerTango 9790060815324 Joel Hoffman (E) Text: "Today too"byTanko from "JapaneseDeathPoems",translatedby for tenor, fluteandguitar 2004 9790060119033 for solopiano 2006 Dance ofthemetro-gnome T Los Angeles, USA Mi USA Angeles, Los Wo PIANO oday Too t tville PumpRoom, Cheltenham,UK r r r ld Premiere: 04 Jul 2004 Jul 04 Premiere: ld ld Premiere: 08 Mar 2006 Mar 08 Premiere: ld ld Premiere: 18 Mar 2001 18 Mar Premiere: ld well Mu well

sic Rooms,Oxford, UK

Pi Pi Pla ano score(inalbum) ano score ying score t Uchida, piano suko Uchida, PIANO 36 5 min min 5 2 min min 2 min 3 1 min min 1 PIANO 9790060821288 for solopiano 2001 Saraband: TheKing’ ,piano; Sout Wo 9790060800030 for solopiano 2000 Ostinato withMelody 9790060109928 for pianosolo 1997-98 Harrison’ Theat Wo for solopiano 2011 Gigue machine Robert Keeley, piano Great Wo Joanna MacGregor, piano Pi Wo Nicolas Hodges,piano t (Sunday Times) skilful pianomusic,theyareasubstantialadditiontothevituosorepertoire." "...brilliantly innovative,tickingandstrikingtimepieces.Byfarthecomposer'smost tville PumpRoom, Cheltenham,UK r r r r ld Premiere: 26 Mar 2000 Mar 26 Premiere: ld 12 2012 Feb Premiere: ld ld Premiere: 27 Feb 2002 27 Feb Premiere: ld 1998 13 Jul Premiere: ld h Ban

Hall, Kin Hall, erhaus

k Centre, London,UK , T1, Stuttgart, Germany Germany , T1,Stuttgart, ndon, UK UK g's College,London, s Clocks

Pi Pi Piano score ano score ano score PIANO s Farewell

37 25 min min 25 10 min min 10

3 min min 3 min 5 VOCAL Chamber with and with Chamber see also Roderi Margrei Wo Text: RainerMariaRilke(G) for voiceandpiano 2006-09 Bogenstrich: Liebes-Lied1 Philip Langridge,tenor;DavidOwenNorris,piano Wi Wo Text: DavidHarsent(E) for tenorandpiano 2009 Fr 9790060816444 Tyler (PenguinClassics)(E) Text: from theJapaneseNoPlay'KomachiatSeki-dera',translatedbyRoyall for tenorandprepared piano 2000 T piano baritone;IainBurnside, Roderick Williams, Pi Wo Text: (E) for baritoneandpiano 2005 T Hirohisa Tsuji, tenor; AkaneNakanishi,piano Toky Wo t he SadnessofKomachi he MouseFelt..... gmo tville PumpRoom, Cheltenham,UK om Vanitas r r r r ld ld ld Premiere: 03 Nov 2009 Nov 03 Premiere: ld ld Premiere: 10 Jul 2005 10 Jul Premiere: ld ld Premiere: 162000 May Premiere: ld o

OperaCity Recital Hall,Tokyo, Japan ck Williams, bar re Premiere d, Alt d, Hall, London, UK

aly o Adige,Italy

Vo : 22 May 2009 May : 22 cal score itone; Adrian Fellner, Brendel, cello;Till piano without voice(s) without voice(s) VOCAL 38

5 min min 5 4 min min 4 5 min min 5 min 3 CHORAL C Net Muzi Lullaby Ki Wo Text: StephenPlaice(E) Christmas Carol forSATB choir 2003 T Thomaski Wo strings(3.0.3.3.1) 2(I=picc,II=picc,afl).2.2(I=Ebcl,II=bcl).2(II=dbn)—2.2.2.0—harp— Text: StephenPlaice(E) for chamberchorus,tenor, countertenorandensemble 2009 a d Angel Fighter W moths (E,L) Text: RobinBlaser:'TheMothPoem'from 'TheHolyForest'; Latinnamesof for twelvefemalesingers,three harpsandaltoflute 2012 T C Sout Sout Wo Text: James,JohnandRobert Wedderburn(E) for twosopranos,unaccompanied 2006 Ki C RIAS Kammerchor; musi Towers,William countertenor;Jeffrey Lloyd Roberts,tenor; C o o o o n n o he Gleam he MothRequiem n n n n g's CollegeChapel, Cambridge, UK g's CollegeChoir r r r r her ra ductor: ReinbertdeLeeuw ductor: PeterWright ductor: StefanAsbury ductor: StephenCleobury ld Premiere: 24 Dec 2003 Dec 24 Premiere: ld 2010 13 Jun Premiere: ld ld Premiere: 19 2006 Nov Premiere: ld ld Premiere: 14 2012 Oct Premiere: ld hwar hwar ekgebo

matic episode from Genesis lands Chamber Choir;Asko|SchönbergEnsemble k CathedralChoir k Cathedral, London, UK r pzig, Germany che, Leipzig,Germany u w aan'tIJ, Amsterdam, Netherlands kFabrik CHORAL

39 34 min 15 min min 15 2 min min 6 CHORAL All Amplified harp(with liveelectronics) 2bcl.0—perc(1):bass marimba/vib/taiko(lgc.60cm)—cimb— 2(I=picc,afl;II=picc,afl,bfl).2picc(I,II=afl,bfl).0.2(I=Ebcl,bcl;II=bcl). 24 or36voices Text: PabloNeruda's'OdaalDobleOtono'(S) for chorusandensemblewithliveelectronics 2004-05 Neruda Madrigales 9790060112829 3S,3M,3A,3T,3Bar,3B Text: from the'AnimaChristi'(14thcenturyprayer)/St.ThomasAquinas(L) for 18-partmixedchoiracappella 1999 T C ,baritone;Netherlands RadioChoir Roderick Williams C Wo 2(II=picc).1(=corA).1(=Ebcl).bcl.1—African tombakdrum SATB choir;solobaritone Text: DavidHarsent(E) for baritone,tombak,mixedchoirandensemble 2003 T C BBC Snape Malt Wo o o o hree LatinMotetsfrom ‘TheLastSupper’ he RingDanceoftheNazarene (Daily Telegraph) instrumental sound,sosubtlydoneyoucouldn’tbesurewerehearingitatall..." 30 years.Andtherewasonenewfeature;amysteriouselectronicechoofthe himwellfor “A massivelyimpressivereworkingofthedevicesthathaveserved counterpointed bytheensemble.”(TheGuardian) molten massofmusicalmaterial,withintricatelyinterlacedvocallinesshadowedor and followedbyachorale-likeresumé.Inperformance,though,theeffectisof Neruda's odeintolinkedsectionswitheachstanzagivenitsownsoundworld “His setting,withitsairofmelancholyandmomentseruptiveviolence,parses written." (TheGuardian) "...some ofthemostintenseandrapturously beautifulmusicBirtwistlehasever n n n r r ductor: Marcus Creed certgebouw, Amsterdam, Netherlands ductor: NicholasKok ld Premiere: 11 2003 Oct Premiere: ld 2005 18 Jun Premiere: ld Sin

gers; LondonSinfonietta

ings, Aldeburgh,UK

Cho ral Score CHORAL 40 32 min min 32 20 min min 20 13 min min 13 DISCOGRAPHY Avi MusicAVI553067 Fellner Adrian Brendel/Till Lied Deux-Elles DXL1019 Richard Shaw/Galliard Ensemble Black BoxBBM1046 Nash Ensemble An InterruptedEndlessMelody Brass ClassicsBC3007 London MozartPlayersBrassEnsemble Deux-Elles DXL1019 Galliard Ensemble Hoquetus Petrus Metronome METCD1074 Nicolas Hodges Warner ClassicsSoundCircus 2564671990 Joanna MacGregor Harrison’s Clocks EMI Classics5580702 Choir ofKing’s College,Cambridge/ The Gleam NMC D156 Wigglesworth Owen Slade/TheHallé/Ryan The CryofAnubis Metronome METCD1074 Nicolas Hodges Betty Freeman –HerTango Metronome METCD1074 Nicolas Hodges/Claire Edwards T he AxeManual

DISCOGRAPHY

41

The Minotaur /Johan Reuter/Christine Rice/ The Royal Opera/Antonio Pappano Opus Arte OA1000D / OABD 7052D

9 Movements for String Quartet Arditti Quartet Aeon AECD 1217

Night’s Black Bird The Hallé/Ryan Wigglesworth NMC D156 DISCOGRAPHY

26 Orpheus Elegies Melinda Maxwell/Helen Tunstall/ Andrew Watts Oboe Classics CC2020

Ostinato with Melody Nicolas Hodges Metronome METCD1074

Panic John Harle/Paul Clarvis/BBC Symphony Orchestra/Andrew Davis Decca 4784249

Pulse Shadows (incorporating 9 Settings of Celan and 9 Movements for String Quartet) Claron McFadden/Arditti Quartet/ Nash Ensemble/Reinbert de Leeuw Teldec 3984 26867 2

Saraband: The King’s Farewell Nicolas Hodges Metronome METCD1074

9 Settings of Lorine Niedecker Claron McFadden/Paul Watkins Black Box BBM 1046

DISCOGRAPHY 42 The Shadow of Night The Hallé/Ryan Wigglesworth NMC D156

String Quartet: The Tree of Strings Arditti Quartet Aeon AECD 1217

Theseus Game Ensemble Modern Orchestra/Martyn Brabbins/ Pierre-André Valade Deutsche Grammophon 0289 477 0702 8 DISCOGRAPHY

Three Arias Claire Seaton/Andrew Watts/ Melinda Maxwell Oboe Classics CC2020

The Woman and the Hare Claron McFadden/Julia Watson/ Nash Ensemble/Martyn Brabbins Black Box BBM 1046

DISCOGRAPHY 43 BH=Boosey & Hawkes UE=Universal Edition BH/UE=constituent movements published by either Boosey & Hawkes or Universal Edition. The complete works are available on hire from Boosey & Hawkes ms=unpublished manuscript ww=work withdrawn

Year Work

c.1950 Oockooing Bird for piano ms 1957 Refrains and Choruses for flute, oboe, clarinet, horn UE and bassoon 1958 Three Sonatas for Nine Instruments ww 1959 Monody for Corpus Christi for soprano, flute, horn UE and violin 1960 Précis for solo piano UE 1961 The World is Discovered for 12 players UE 1960-63 for orchestra UE 1963 Narration: A Description of the Passing of a Year UE for chorus Music for Sleep for children’s voices, piano and ww percussion 1964 Entr’actes and Sappho Fragments for soprano and UE chamber ensemble Three Movements with Fanfares UE for chamber orchestra 1964-65 Ring a Dumb a ‘dramatic scena’ for soprano, UE clarinet and percussion 1965 Paschale motet for chorus (SATB) and UE CHRONOLOGICAL LIST OF WORKS obbligato organ Tragoedia for , harp and string quartet UE Verses for clarinet and piano UE 1965-66 The Visions of Francesco Petrarca for baritone, ww mime ensemble, chamber ensemble and school orchestra 1966 The Mark of the Goat a ‘dramatic cantata’ for actors, UE singers, two choruses and instruments 1966-67 Punch and Judy a ‘tragical comedy or comical tragedy’ UE in one act 1967 Chorale from a Toy-Shop for 5 players UE (various realizations) Monodrama for soprano, speaker and chamber ensemble ww Three Lessons in a Frame for piano, flute, clarinet, ww violin, cello and percussion

CHRONOLOGICAL LIST OF WORKS 44 1967-68 Nomos for 4 amplified wind instruments and orchestra UE 1968 Four Interludes for a Tragedy for basset clarinet UE and tape 1968-69 Linoi for clarinet and piano; or clarinet, piano, tape and UE dancer; or clarinet, piano and cello Verses for Ensembles for 5 woodwind, 5 brass and UE 3 percussion Down by the Greenwood Side a ‘dramatic pastoral’ UE in one act 1969 Some Petals from my Twickenham Herbarium UE for piccolo, clarinet, viola, cello, piano and glockenspiel Cantata for soprano and chamber ensemble UE Ut Heremita Solus (after Ockeghem) UE for chamber ensemble Hoquetus David (after Machaut) for chamber ensemble UE Eight Lessons for Keyboards ms 1969/70 Medusa for chamber ensemble ww 1970 Signals for clarinet and tape ms Dinah and Nick’s Love Song for 3 melody instruments UE and harp Nenia: the Death of Orpheus a ‘dramatic scene’ for UE soprano, 3 bass /clarinet, piano/prepared piano and crotales Prologue for tenor and chamber ensemble UE 1970-71 Meridian for mezzo-soprano, 6 soprano voices, horn, cello UE and 11 players 1971 An Imaginary Landscape for brass, 8 double basses and UE percussion Tombeau in memoriam UE

CHRONOLOGICAL LIST OF WORKS for flute, clarinet, harp and string quartet c.1971 Sad Song a modal piano piece ms 1971-72 The Fields of Sorrow for 2 , chorus and UE 16 players Chronometer for 2 x 4-track tape UE (realized by Peter Zinovieff) The Triumph of Time for orchestra UE 1972 Epilogue for baritone, horn, 4 , 6 tam-tams UE La Plage: Eight Arias of Remembrance for soprano, UE 3 clarinets, piano and marimba 1973 Grimethorpe for brass band UE Chanson de geste for amplified sustaining instrument ww and tape 1975 Five Chorale Preludes (after J.S.Bach) for soprano, UE clarinet, basset horn and bass clarinet

CHRONOLOGICAL LIST OF WORKS 45 1976 Melencolia I for solo clarinet, harp and 2 string orchestras UE For O, for O, the Hobby-Horse is Forgot a ‘ceremony’ UE for 6 percussionists 1977 for 15 players UE Pulse Field (Frames, Pulses and Interruptions) ballet for UE 6 dancers and 9 players Bow Down music theatre for 5 actors and 4 musicians UE 1977-78 Carmen Arcadiae Mechanicae Perpetuum UE for 14 players 1978-79 …agm… for 16 voices and 3 instrumental ensembles UE 1979 Choral Fragments from …agm… for 16 voices ww untitled work for flute, clarinet, horn and bassoon ms 1980 Mercure Poses Plastiques (after Satie’s ballet) UE for chamber orchestra On the Sheer Threshold of the Night for soprano, UE counter-tenor, tenor, bass and chorus of 12 voices Clarinet Quintet for clarinet and string quartet UE 1981 Pulse Sampler for oboe and claves UE 1983 Duets for Storab for 2 flutes UE Deowa for soprano and clarinet UE 1973-75; The Mask of Orpheus an opera in 3 acts UE 1981-84 1984 Yan Tan Tethera a ‘mechanical pastoral’ in one act UE Still Movement for 13 solo strings ww Secret Theatre for 14 players UE Songs by Myself for soprano and chamber ensemble UE Berceuse de Jeanne for piano UE 1985 Words Overheard for soprano, flute, oboe, bassoon UE and strings

CHRONOLOGICAL LIST OF WORKS 1985-86 Earth Dances for orchestra UE 1986-87 Endless Parade for solo trumpet, vibraphone and UE 1987 Hector’s Dawn for piano UE Fanfare for Will for brass ensemble ww Les Hoquets du Gardien de la Lune (after Machaut) ms for orchestra 1988 Four Songs of Autumn for soprano and string quartet UE An die Musik for soprano and 10 players UE Machaut à ma manière (after Machaut) for orchestra UE 1989 Salford Toccata for brass band UE The Wine Merchant Robin of Mere for male voice and ms piano 1990 Ritual Fragment for 14 players ww 1989-91, Gawain an opera in 2 acts UE rev.1994

CHRONOLOGICAL LIST OF WORKS 46 1991 Four Poems by Jaan Kaplinski for soprano and UE 13 players Gawain’s Journey for orchestra (selected and compiled UE in collaboration with Elgar Howarth) An Interrupted Endless Melody for oboe and piano BH 1992 Antiphonies for solo piano and orchestra UE Five Distances for Five Instruments for wind quintet UE 1993-94 The Second Mrs Kong an opera in 2 acts UE 1994 Fanfare for Glyndebourne for brass ensemble and ms The Cry of Anubis for tuba and orchestra BH 1995 Hoquetus Petrus for two flutes and piccolo trumpet BH Panic for alto saxophone, jazz drummer, wind, brass and BH percussion 1989-96 9 Settings of Celan for soprano and ensemble BH/UE Pulse Shadows for soprano, string quartet and BH/UE ensemble 1991-96 9 Movements for String Quartet BH/UE 1996 Slow Frieze for piano and ensemble BH Bach Measures for chamber orchestra or ensemble BH 1997 Exody for orchestra BH 1997-98 Harrison’s Clocks for piano solo BH 1998 Placid Mobile for 36 muted trumpets BH The Silk House Tattoo for two trumpets and 3 side drums BH 1994/99 Love Cries for soprano, mezzo-soprano, tenor and orchestra UE (compiled from The Second Mrs Kong by Michael Berkeley) 1998-99 The Last Supper Dramatic tableaux for 14 soloists, BH small female chorus and chamber orchestra 1999 Three Latin Motets for 18-part mixed choir a cappella BH

CHRONOLOGICAL LIST OF WORKS The Woman and the Hare for soprano, reciter and BH ensemble Sonance Severance 2000 Fanfare for orchestra BH Sonance 2000 for brass ensemble BH 1998/2000 9 Settings of Lorine Niedecker for soprano and cello BH 2000 17 Tate Riffs for ensemble BH The Axe Manual for piano and percussion BH Ostinato with Melody for solo piano BH Betty Freeman: Her Tango for solo piano BH The Sadness of Komachi for tenor and prepared piano BH There is something between us... for baritone and BH orchestra BH 2001 Saraband: The King’s Farewell for solo piano BH Fanfare for brass and percussion BH Tenebrae David for brass ensemble BH The Shadow of Night for orchestra BH

CHRONOLOGICAL LIST OF WORKS 47 2002-03 Theseus Game for large ensemble with 2 conductors BH 2003 The Ring Dance of the Nazarene for baritone, tombak, BH mixed choir and ensemble The Io Passion Chamber opera BH The Gleam Christmas Carol for SATB choir BH 2003-04 26 Orpheus Elegies for oboe, harp and countertenor BH 2004 Night’s Black Bird for orchestra BH Today Too for tenor, flute and guitar BH Cantus Iambeus for thirteen instruments BH 2004-05 Neruda Madrigales for chorus and ensemble with live BH electronics 2005 Crowd for solo harp BH The Mouse Felt….. for baritone and piano BH 2003/06 Aubades and Nocturnes from The Io Passion for BH basset clarinet and string quartet 2006 Song of Myself for baritone, double bass and percussion BH Five Little Antiphonies for Amelia for two trumpets BH Lullaby for two sopranos BH Dance of the metro-gnome for solo piano BH 2005-07 The Minotaur Opera in 13 scenes BH 2007 Double Hocket for piano trio BH String Quartet: The Tree of Strings BH 2008 Virelai (Sus une fontayne) for ensemble of 12 players BH The Corridor a scena for soprano, tenor and 6 instruments BH The Message for Eb clarinet, trumpet in C and military drum BH 2006-09 Bogenstrich for voice, cello and piano BH 2009 Semper Dowland, semper dolens Music theatre for BH tenor and ensemble Roddy’s Reel for bass clarinet, with audience participation BH

CHRONOLOGICAL LIST OF WORKS From Vanitas for tenor and piano BH Bourdon for violin and viola BH Angel Fighter for chamber chorus, tenor, countertenor and BH ensemble 2009-10 Concerto for Violin and Orchestra BH Oboe Quartet for oboe, violin, viola and cello BH 2010 Duet 3 for cor anglais and bassoon BH Crescent Moon over the Irrational for ensemble BH Trio for violin, cello and piano BH 2011 Gigue machine for solo piano BH Fantasia upon all the notes for ensemble BH 2011/12 In Broken Images for ensemble BH 2012 The Moth Requiem for 12 female singers, 3 harps and BH

CHRONOLOGICAL LIST OF WORKS 48 from The Shadow of Night (2001) ADDRESSES

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) ) COMPOSERS please visitwww.boosey.com/composers: For informationonthefollowingcomposersandmanymore Karl Jenkins John Ireland David Horne York Höller Andrew Hill HK Henryk Mikol Osvaldo Golijov Berthold Goldschmidt Detlev Glanert Alberto Ginastera Roberto Gerhard Hans Gál Gerald Finzi Irving Fine Howard Ferguson Gottfried vonEinem Jacob Druckman Paquito D'Rivera David DelTredici Michael Daugherty Anna Clyne Qigang Chen Enrico Chapela Benjamin Britten Harrison Birtwistle Frank MichaelBeyer Oscar Bettison David Benoit Jack Beeson Béla Bartók Dominick Argento Michel vanderAa

Gruber ⁄ aj Górecki COMPOSERS Hans Zender Isang Yun Jaromír Weinberger Claude Vivier Mark-Anthony Turnage Michael Torke Andrew Toovey W Igor Stravinsky Leopold Spinner Sean Shepherd Kurt Schwertsik Wolfgang vonSchweinitz Annette Schlünz Iris terSchiphorst Christopher Rouse Ned Rorem Serge Rachmaninoff Serge Prokofieff Andrzej Panufnik Jacques Offenbach Helmut Oehring Olga Neuwirth Meredith Monk Edgar Meyer Peter MaxwellDavies Bohuslav Martinu Igor Markevitch James MacMillan Steven Mackey Tod Machover Jonathan Lloyd Benjamin Lees Simon Laks Hans Krása Barbara Kolb Erwin Koch-Raphael Gideon Klein Giselher Klebe Elena Kats-Chernin Johannes Kalitzke ⁄ l adysl

⁄ aw Szpilman ° The Minotaur at The Royal Opera in London, directed by Stephen Langridge (2008) Photo: Bill Cooper

The Corridor at the Holland Festival in Amsterdam, directed by Pierre Audi (2010) Photo: Ada Nieuwendijk